Opinions of Composers of Electronic Dance Music in Turkey
Caner Özbek, Ümit Kubilay CanThis research focuses on the opinions of electronic music composers working in the field of electronic dance music produced in Turkey to investigate the art form’s current status. Therefore, research questions were formulated related to (1) the technical equipment used or required by electronic dance music composers, (2) their working environments, (3) the digital audio workstation programs, (4) how closely they follow technological developments, and (5) their attention to the project lifecycle as well as issues on the evolution of this art form in Turkey. This phenomenological study comprises five renowned composers as participants of the study. An 8-item structured interview format was used for data collection. Participants’ physical and technical facilities, knowledge and equipment, studies, current status, and future dimensions of electronic dance music were examined to develop a form. Consistent with the data, the tables presented in this paper reflect both the shared and differing opinions of the field experts. As a result of the study, it has been reported that composers perform their work in home studios with certain equipment, and also that composers should have musical skills as well as technical skills. In the comparison of the produced music with the studies performed at international level, it is concluded that it is difficult to reach the desired musical sound due to some economic reasons and the independent artist should be supported for the development of the works at the national level.
Türkiye’deki Elektronik Müzik Bestecilerinin Elektronik Dans Müziğine İlişkin Görüşlerinin İncelenmesi
Caner Özbek, Ümit Kubilay CanBu araştırmada, elektronik dans müziği alanında çalışmalar yapan elektronik müzik bestecilerinin görüşleri doğrultusunda Türkiye’de üretilen elektronik dans müziğinin güncel durumunun incelenmesi amaçlanmaktadır. Bu amaç doğrultusunda elektronik dans müziği bestecilerinin teknik donanımları, çalışma ortamları, kullandıkları DAW programı, sahip olması gereken donanımları, teknolojik gelişmelerin takibi, üstünde çalıştığı projenin başlangıcından bitişine kadar olan sürede nelere dikkat edildiği, miksing sürecinde tercih edilen reverb, delay, compressor ve EQ pluginleri, elektronik dans müziğinin Türkiye’de var olan güncel durumu ve geleceği gibi hususları kapsayan konular, araştırma soruları olarak belirlenmiştir. Bu araştırmada, nitel araştırma desenlerinden olgu bilimi kullanılmıştır. Araştırmanın çalışma grubunu Türkiye’de yaptığı çalışmalar ile alanda isim yapmış 5 adet katılımcı oluşturmaktadır. Verilerin toplanmasında araştırmacı tarafından oluşturulan 8 maddelik bir yapılandırılmış görüşme formu kullanılmıştır. Formun oluşturulmasında katılımcıların fiziki ve teknik imkanları, bilgi ve donanımları, yapılan çalışmalar, elektronik dans müziğinin güncel durumu ve geleceği boyutlarından yararlanılmıştır. Bu veriler doğrultusunda katılımcıların ortak ve farklı görüşleri belirlenerek tablolar oluşturulmuştur. Araştırma sonuçlarına göre, bestecilerin çalışmalarını belirli ekipmanlarla ev stüdyolarında gerçekleştirdikleri, ayrıca bestecilerin teknik becerilere sahip olmaları gerektiği kadar müzikal becerilere de sahip olmaları gerektiği bildirilmiştir. Üretilen müziğin uluslararası düzeyde yapılan çalışmalarla karşılaştırılmasında, istenen müzikal sese ulaşmanın bazı ekonomik nedenlerden dolayı zor olduğu ve eserlerin ulusal düzeyde geliştirilmesi için bağımsız sanatçının desteklenmesi gerektiği sonucuna varılmıştır.
This study aims to reveal the current situation of electronic dance music in Turkey based on the opinions of electronic music composers working in this field. To this end, we analyzed the methodologies used by composers when creating a piece of electronic dance music, the effect of technological advancements on composers, the current situation in the field, and the potential future course of electronic dance music in Turkey.
This study contributes to the literature, offering insights for further research on electronic dance music. It further provides information on the current situation of electronic dance music artists and generates a resource for musicians who plan on advancing in this field.
With the study’s objectives in mind, we attempted to present the opinions of participants from a qualitative perspective. Therefore, a phenomenology approach—a qualitative research method—was selected from the methods compatible with the goals of this research. For this study, we conducted interviews for qualitative data acquisition and analysis. Electronic dance music composers were selected as the study group in accordance with the objectives of the phenomenology approach. The participants (i.e., four men and one woman) were actively working in this field in Turkey during the research period. The composers selected as participants in the study had at least 10 years of professional experience in the field at the time of the interviews.
An 8-item structured interview form prepared by the researcher was used for data acquisition. The structured interview form included questions on the participants’ physical and technical means, knowledge and hardware, works in the field of electronic dance music, the current situation, and the future of electronic dance music. The form was finalized through consultation with a music expert.
Through this research, we aimed to obtain honest responses to the questions in a structured interview form and to thoroughly analyze the responses. Therefore, the data acquired based on the participants’ responses were evaluated through data analysis. The codes generated based on the analysis results are presented in the findings section. The phrases summarizing the statements of the participants’ responses to the questions were coded via the MAXQDA 2020 software, which facilitates the coding and analysis of data in qualitative research studies.
The findings section outlines the data related to the participating composers’ responses according to the study objectives. We investigated the composers’ technical hardware, their work environments, and the specifications of their digital audio workstation software. Questions were related to which hardware they prefer, how they follow technological advancements, how they work on a project, and which plugins they use during the mixing stage. Moreover, we examined the current position of Turkey’s electronic dance music landscape based on the global standards and the necessary changes to elevate the electronic dance music in Turkey to international standards in the future.
The interpretations of the research findings are presented in the conclusion and evaluation sections. In general, the majority of the composers have a home studio. At the time of the study, most composers had at least a minimal home studio thanks to developments in audio recording technologies and increasing access to the equipment used in this business. Manufacturers improve such technological equipment and software each passing day. Thus, composers must follow these developments closely to take advantage of these technological advancements and produce an improved sound. According to our observations, supporting independent art produced in the electronic dance music genre in Turkey is crucial for it to reach an international level. Musical works improve in quality to the same extent as the support lent to independent artists through legal regulations.
In the proposals section of the study, we suggest applying the interview form of this study as a data acquisition tool to an international and more inclusive study group and include electronic dance music in the curricula of professional music schools. The results may help composers overcome the financial issues related to equipment and software access in the electronic dance music industry.
